Mr.

Cavalucci
One of my favorites boricua rappers in the nineties was Mr. Cavalucci. The MC Mr. Cavalucci
was one of the boricua rappers who contributed to rap underground and spanish hip hop in
Puerto Rico. I do not know the background of Mr. Cavalucci but I remember him as a rapper
who knew very well how to rap in Spanglish. In his biography says he is born in Brooklyn, New
York but he was raised in Puerto Rico. Her mother is boricua and his father is from Italian origin.
Mr. Cavalucci started to rap in discos, parties and television shows in the beginning of the
nineties. In his songs he often mentioned Trujillo Alto as his hometown. In rap culture the
territory is part of the identity of the group. It is known that the poor young people that live in the
housing projects of the northeast side of Puerto Rico, among them, Trujillo Alto and Carolina
contributed to the underground music genre. Underground is a term to name rap and Spanish
reggae that emerged from the poor and urban communities of Puerto Rico. Spanish reggae means
dancehall reggae rhythm sung in Spanish. The emergence of this music genre has been well
explored by Raquel Z. Rivera and Mayra Santos Febres. Returning to Mr. Cavalucci, What did I
admired this rapper? First, he was some kind of tongue twister and also his rap was very fast.
Their fans know him as a rapper that knows how to play with words. In addition, in his songs he
used to talk about the drug war and corruption of the system of government. My favorites songs
were Boogie Down Style, Sabio como Clinton, No disimules, Que tengo el arte, Con ritmo de los
80, Vodoo, Hip Hop Killer, Que ser nuestro destino. In some of the songs that I have mentioned
he talks about the common violence and death among young people and the injustice and the
hypocrisy of the law. In some of his music themes Mr. Cavalucci was like a voice of the
everyday live that look closely the war of the streets and a critic voice of denunciation of the
criminal actions of the system of justice. I never knew him as a character that embodies the
figure of the thug in his music themes but as a rapper who observed the situations around him
and brought it as a message to the scene of rap. He often used the term Cavaloga to embody the
content of his lyrics. Their fans could see him as an intellectual of the street. In the rap arena I
saw him as a rap master side by side with Mejicano, Maestro, Lito y Polaco, MC Ceja,
Winchester 30 30 (Daddy Yankee), and others boricua rappers. But there were songs that I did
not like. My brothers and I did not like the music theme Danger Danger from the music
production DJ Dicky and I have to confess that I never listened to his music production

Cavaloga. At school and the neighborhood I heard others say that they did not like their music
style anymore. - Cavaloga music production was a charrera - we said. Charrera is a slang
adjective meaning poor value. I began to ask: What happen with the good style of Mr.
Cabalucci? Now I can say something about it. Perhaps this attribution of value is related to a new
taste in young people to the emergence of Spanish reggae (dancehall). In Cavaloga music
production Cabalucci kept intact his hip hop style. It is known that young people opted for
reggaeton musical rhythm a dance afro caribbean beat. But that does not mean this young sector
rejected the style of hop hop music. But despite that situation Mr. Cabalucci sowed his name as
one of the pioneers in underground music and a talented hip hoppa of the 90s.
Boricuas en el ghetto
Mr. Cavalucci identified himself as a hip hop rapper. He used to rap over hip hop beat but that
does not mean he used to sang over reggaeton beat. In the nineties the majority of poor and urban
young guys in Puerto Rico preferred singing over reggaetons beat. I think that for that time he
was the only MC accompanied by a team of breakdancers while he rap on stage. The previous
description was part of his performance in the concert called, The Big Blunts. I remember that
one of my brothers used to breakdance in the canopy of the house or when we went to the parties
near our hometown. I also clean the floor briqueando. Briquear is an anglicism from the
breakdance style. It is the verb executed. Breakdance is part of the hip hop culture. The afrocaribbean community including the young nuyoricans were crucial in the development of this
kind of dance from the ghettos of New York. Mr. Cabalucci and his crew of breakdancers is an
example of the hip hop culture in Puerto Rico.
MCs
There is something interesting in the Puerto Rican rappers of the early nineties. They used to
have a close interaction with the afro-caribbean MCs. Like Mejicano and other Puerto Rican
rappers Mr. Cavalucci used to have collaboration with Jamaican/Afro-american rappers.
Cavaloga is a good example of this kind of collaboration. The influence of Jamaican culture and
their music into Puerto Rican rap underground is not only present in dancehall reggae but

through the joined collaboration with Jamaican MCs. Mayra Santos Febres says that when a
boricua rapper shifted to english language he was really singing black english. Black english was
the way Jamaican MCs sang his songs. This cultural interaction between afro-caribbean diaspora
in New York was an important element that influence underground and eventually reggae-ton
aesthetics. The music production Boricua Guerrero First Kombat is another significant example
of the multicultural collaboration that joined together boricuas and Jamaican/Afro-American
MCs. All this music production use only hip hop beats. Much of the fans consider this music
production as real hip hop and real latin hip hop.